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基本説明
New in paperback. Hardcover was Published in 2007. Making use of contemporary documents and the play scripts themselves, Bevington brings Shakespeare's original stagings to life. And through close attention to Shakespere's texts, he reveals the surprising ways that early productions decisions continue to effect our understanding of the plays; for example, the word "balcony," despite its indelible association with Romeo and Juliet, appears nowhere in the play itself.
Full Description
Many readers first encounter Shakespeare's plays in a book rather than a theater. Yet Shakespeare was through and through a man of the stage. So what do we lose when we leave Shakespeare the practitioner behind, and what do we learn when we think about his plays as dramas to be performed? David Bevington answers these questions with "This Wide and Universal Theater", which explores how Shakespeare's plays were produced both in his own time and in succeeding centuries. Making use of historical documents and the play scripts themselves, Bevington brings Shakespeare's original stagings to life. He explains how the Elizabethan playhouse conveyed a sense of place using minimal scenery, from the Forest of Arden in "As You Like It" to the tavern in "Henry IV, Part I". Moving beyond Shakespeare's lifetime, Bevington shows the prodigious lengths to which eighteenth- and nineteenth-century companies went to produce spectacular effects, from flying witches in "Macbeth" to terrifying storms punctuating "King Lear". To bring the book into the present, Bevington considers recent productions on both stage and screen, when character and language have taken precedence over spectacle.
This volume brings a lifetime of study to bear on a remarkably underappreciated aspect of Shakespeare's art.
